Archive for 2020

Pieces of a Woman

Posted in Drama with tags on January 21, 2021 by Mark Hobin

Rating: 2.5 out of 5.

If nothing else, Pieces of a Woman will be remembered for a home birth sequence that unfolds in a single take less than 10 minutes in. Martha (Vanessa Kirby) and Sean (Shia LaBeouf) are having a baby. Their midwife Barbara is currently involved with another birth so she sends another, Eva (Molly Parker), in her place. The next 20 minutes is an agony that culminates in tragedy. What follows is a chronicle about how a mother and her family deal with that grief.

There is an undeniable craft to the construction of this account that is praiseworthy and compelling. The talented Hungarian director Kornél Mundruczó (White God) has fashioned a saga with artistic flair. It is rooted in Vanessa Kirby’s portrait of a woman undone. Her performance is the best reason to see this. She is utterly disaffected by life after this trauma. Shia LaBeouf is her husband Sean. One’s familiarity with the actor’s personal issues may prove to be a distraction to his credible work here. Then again, it may even help because his character is not likable. The always dependable Ellen Burstyn plays her controlling mother Elizabeth. She elevates the narrative with her presence as well.

Pieces of a Woman is yet another dramatic exercise where a film is an excuse for actors to converge and exhibit their thespian skills. The audience is subsequently invited to marvel at all the acting on display. Like all of these recent efforts, there are indeed impressive performances. Furthermore, this looks like a fully formed piece of cinema. It feels like real life as opposed to a theatrical showcase, but to what end? This is an unpleasant experience that depicts the degradation of a marriage. Martha is understandably wounded. She is cold to everyone, especially her husband. The couple fight. Sean cheats on her [with their attorney (Sarah Snook) no less!] Yes, movies can present the ugliness of life. However, the viewer should feel enriched for suffering along with the protagonist when the credits roll. Pieces of a Woman is a punishment to watch. I suppose if there’s anything to be gleaned from this nasty ordeal, it’s that the death of a child is hard. These actors truly make you endure that awful event and its aftermath. Uh thanks, I guess?

01-13-21

One Night in Miami

Posted in Drama with tags on January 18, 2021 by Mark Hobin

Rating: 2.5 out of 5.

So let me set the stage. Muhammad Ali (Eli Goree) has just pulled off one of the greatest upsets in sporting history by beating Sonny Liston (Aaron D. Alexander). Civil rights activist Malcolm X (Kingsley Ben-Adir), singer Sam Cooke (Leslie Odom Jr. ), and NFL player Jim Brown (Aldis Hodge) were all ringside to witness it. Afterward, these four American icons decided to hang out. The date is February 25, 1964, and their meeting really happened. This movie, however, is a fictionalized version of what they might have talked about. It is an compelling idea for a film. This was a pivotal moment of contemplation in the career of each of these 4 young men. The magnitude of their encounter is underscored by the fact that Malcolm X and Sam Cooke would both be murdered within a year.

One Night in Miami is the directorial debut from Academy Award winning actress Regina King (Jerry Maguire, If Beale Street Could Talk) based on the play written by Kemp Powers. The plot merely revolves around a conversation. The play leans heavily on the repartee between its four principal players. You’d expect them to agree but their differing ideologies are a big part of the conflict. Malcolm X and Muhammad Ali seize focus as the principals. They control and guide the deliberation. They are more aligned in political spirit whereas Jim Brown and Sam Cooke’s views are a little divergent. Yet they all share a mutual respect for one another. The Civil Rights movement was ongoing concern. As they speak we come to know what’s going on in their lives and how they wish to proceed in their separate careers.

One Night in Miami concerns four inspirational icons that spar over weighty matters. The screenplay is shrewd enough to present each of these individual men not as legends but as human beings with vulnerabilities. Of all the depictions, Leslie Odom, Jr stands out as Sam Cooke. He disappears into the role so you feel you are watching the soul crooner himself, not an actorly achievement. Odom’s extensive theater experience (Rent, Leap of Faith, Hamilton) also means he can do his own singing and that is just as impressive as the performance. The best interactions involve him and Malcolm X. My favorite part is when Malcolm X reminisces about attending the singer’s concert and how Cooke won over the crowd when his microphone didn’t work. That little vignette was so captivating I started to wonder what a Sam Cooke memoir would look like. His life would undoubtedly make a fascinating movie. This is not a traditional cradle to the grave biography. This is merely a snapshot in the lives of these men. I do appreciate that approach. It is unique.

Where the picture falls short is in the authentic presentation of a leisurely exchange. The dialogue here doesn’t sound natural. It’s infused with the well-researched viewpoints of a writer. You never forget this is a play. What might these historical figures have talked about? Apparently the preferred subject is politics. It’s focused on a philosophical debate that deals with the plight of African Americans and what the moral obligation of black men in positions of power and cultural influence should be. There is a lot of self-reflection. No resolution per se. Just conversational gymnastics. Most of the so-called action takes place in Malcolm’s room at the Hampton House motel. This isn’t a production rooted in a strong narrative structure. To that extent, the tale doesn’t rise above its stage origins. That has been a difficult task as of late. The recent Ma Rainey’s Black Bottom also had that issue. Nevertheless, it’s an interesting and timely effort. This is sure to be a future favorite of high school history teachers on the American civil rights movement. As an intellectual exercise, the work is intriguing. As a piece of entertainment, it’s a bit less engaging.

12-29-20

News of the World

Posted in Action, Adventure, Drama, Western with tags on January 16, 2021 by Mark Hobin

Rating: 3 out of 5.

United 93 and Captain Philips are two of the greatest films of the past 15 years. Paul Greengrass directed both. He also helmed 3 of the 5 entries in the Jason Bourne spy series. They include my favorites: Supremacy (2004) and Ultimatum (2007). So it goes without saying that my anticipation for Greengrass’ latest endeavor was high. News of the World is the achievement of a proficient filmmaker. The Western is a throwback to a bygone era when stately movies could expect to reap Oscar nominations in multiple categories, especially cinematography, costumes, production design, and sound. News of the World is unquestionably a beautifully constructed monument in the glorious tradition of Hollywood. Despite all this, I’m rather shocked that Paul Greengrass is responsible for it. This seems more like the fastidiously assembled effort from a talented hack than from the innovative auteur I have come to know.

The most important element in a movie is the story. Of course, all of the aforementioned components contribute. Don’t get me wrong. Those qualities are much appreciated. Particularly in our current age where this kind of grand filmmaking is on the wane. However, it’s the adventure that ultimately must captivate. News of the World is sadly lacking in this department. Paul Greengrass and Luke Davies (Lion, Beautiful Boy) adapted News of the World from the novel by Paulette Jiles. Civil War veteran Captain Jefferson Kyle Kidd (Tom Hanks) is an elderly widower traveling through northern Texas. He earns a living as a newsreader — which means he gives live readings from newspapers to paying audiences hungry for “news of the world”. He agrees to transport a young captive of the Kiowa tribe to her surviving biological relatives. And so this commences a 400-mile journey south through difficult terrain as the two lost spirits form a bond that predictably plays out like the fictional construct of a writer.

News of the World concerns Captain Jefferson Kyle Kidd and his charge Johanna Leonberger (Helena Zengel). They encounter other people but this is essentially a two-hander. The 10-year-old girl has a grim past. Four years prior, a band of Kiowa raiders killed Johanna’s parents and sister. The Native Americans spared the youth and raised her as one of their own. Recently rescued by the U.S. Army, the child has once again been torn away from her home. She doesn’t speak English, is ill-tempered, and tries to escape. She appears to be mute which allows the young actress to perform without saying much. I might have thought it unique if I had never seen Patty Duke in The Miracle Worker.

Meanwhile, no actor represents righteousness better than Hanks. The celebrity quintessentially radiates integrity unlike anyone since James Stewart. In the last decade, Hanks has portrayed real-life hero Captain Sully and returned to the iconic role of Sheriff Woody in Toy Story 4. Need further proof? He’s played Mister Rogers and Walt Disney for goodness’ sake. He is a future candidate for sainthood before he even speaks. It’s a cinematic shorthand that works. I fully admit that. His inherently comforting demeanor alleviates the legend from having to display the nuance and craft that would be demanded of a less experienced actor. I don’t fault him for that. Nevertheless, the presentation feels so calculated and conventional.

News of the World is a piece of historical fiction that explores the definition of a family. That’s a nice idea but it unfolds at such a languid tempo. Nothing surprising occurs in this sanctimonious tale. The chronicle gradually limps to its inevitable conclusion with precious little enthusiasm. We keep expecting more conflict between these two disparate souls but Captain Kidd’s polite and mannerly personality doesn’t provide much friction. As the narrative plods along there are various vignettes. The duo meet three ex-Confederate soldiers. This leads to a shootout which got my hopes up for more excitement. Sadly that was the high point. They encounter more nasty fellows that want to rid the county from outsiders. The “good” and “bad” individuals might as well have those words stamped on their forehead. Granted some of the most captivating films ever made have clearly defined characters. It’s just that the saga is so lethargic. I guess I wasn’t expecting a drama to start at a snail’s pace and then frequently apply the brakes.

12-24-20

Minari

Posted in Drama with tags on January 7, 2021 by Mark Hobin

Rating: 4 out of 5.

I love period pieces set in the 1980s.

That statement may sound like I’m referring to one of those comedic coming of age tales. Minari is a chronicle about the American dream. This is a loving recollection, externally dealing with the immigrant experience but intimately concerning a move the Yi family makes from California to Arkansas. Father Jacob (Steven Yeun) and mother Monica (Yeri Han), have arrived with their two kids. The parents are originally from South Korea. Precocious youngest child David (Alan S. Kim) and solemn older daughter Anne (Noel Kate Chao) were both born in California. Jacob is determined to make a living through farming. He dreams of transforming his five acres into a homestead where his family can grow Korean fruits and vegetables.

Sometimes life has other plans. His wife is not convinced. They argue much to the consternation of their kids. Their angry voices echo within the space of the cramped double-wide trailer they call home. Monica soon enlists the help of her mother, Soon-ja (Young Yuh-jung), who arrives from South Korea. This sweet but non-traditional grandmother introduces yet another component to the household. She doesn’t know how to cook, would rather play cards, and curses frequently. Her arrival will change their lives. The entire cast is great but her personality takes the narrative to another level. She also brings a memento from their native country — some Korean watercress called minari. She plants it alongside a creek nearby.

“Life, Liberty and the pursuit of Happiness.” The Yi family yearns for the unalienable rights outlined in the Declaration of Independence. This is a story that uplifts the assimilation into one’s adoptive country. There are so many little details that elevate this authentic depiction. To pay the bills, Jacob and Monica work separating baby chicks by gender. Chicken sexing is indeed an important part of mass poultry production. However, the success of the farm is their ultimate goal. The presentation is one of hope.

Minari is the fourth feature from American director Lee Isaac Chung. He too grew up on a small farm in rural Arkansas. Little David can be seen as a representation of Chung himself. Chung does what director Barry Levinson did with Avalon. Take inspiration from his own upbringing. He extracts warm memories of growing up and presents them with honesty and heart for all the world to appreciate. Sometimes the greatest cinematic moments are not spectacular action setpieces but the intimate interactions within a tight-knit clan.

This beautifully realized portrait is simply one of the best films of 2020. Sadly as of this writing, you’ll have to wait to see it: February 12 to be exact. However, it received a one-week virtual release in early December and so I recognized it as a 2020 movie when I compiled my Top 10 list of 2020. It occupies the #3 position. Consider this an invitation to watch the film when it finally becomes available. Minari is an exquisite comment on humanity.

12-28-20

Soul

Posted in Adventure, Animation, Comedy, Family with tags on December 29, 2020 by Mark Hobin

Rating: 4 out of 5.

The meaning of life is a pretty grandiose idea for any movie to tackle and perhaps even more uncommon for a cartoon. However if any studio could rise to the challenge, it’s Pixar. Every release is always highly anticipated. This one is decidedly different because it’s being made available on Disney+ as many theaters are closed. For those who wish to keep track, this is Pixar’s 23rd feature. It takes on some major subjects. This isn’t new for the animation company. Both Coco and Inside Out dealt with similar themes but I’d say that Soul attempts something much grander.

The legendary Pete Docter has yet to fail as a director: Monsters, Inc, Up, and Inside Out are all classics. Here he directs for the fourth time and co-writes the script (with Mike Jones and Kemp Powers). I’m happy to say Docter comes through again — so successfully that I’m willing to bet Soul will be a Best Picture nominee when the Oscars are announced on March 15, 2021. Only three animated films have ever been nominated for the highest honor: Beauty and the Beast, Up, and Toy Story 3 are the others.

Soul is fascinating because it deals with a lot of abstract beliefs. The saga concerns jazz musician Joe Gardner (Jamie Foxx) who feels unfulfilled as a middle school music teacher. Then one day, a former student (Questlove) invites him to sit in on his jazz band led by respected saxophonist Dorothea Williams (Angela Bassett). Unfortunately, while leaving the successful audition he’s so preoccupied with the opportunity that he falls down a manhole and slips into a coma. His lifeless body lays in a hospital room but his soul is taking an escalator ride upward toward the Great Beyond. However, since he just got his big break, he resists by running away in the opposite direction. Joe plunges to another region called the Great Before. Understandably Joe is confused. “Uh hey, is this heaven?” he asks. That is the first and only time the word is ever uttered. “This isn’t the Great Beyond” a counselor (Alice Braga) informs him. “It’s the Great Before” — a place where other souls currently exist before being conceived as human beings . This is where personalities and interests are assigned before going to Earth. Oh, they’re calling it the “You Seminar” now. Rebranding.

There is a lot to unpack here. The screenplay has a definite worldview that it’s promoting. The ancient Greeks and Islam maintain a pre-existence, but it is generally denied in Christianity. For the most part, the filmmakers portray the afterlife without referencing the theology of any denomination. For example, the concept of God is not mentioned. Neither is religion. This is understandable as the teachings have been workshopped to please as many viewers as possible. Instead, we meet counselors all named “Jerry” that manifest as shapeshifting entities. They appear like cubist doodles that Picasso might have drawn. It is here that Joe is paired up to mentor a disagreeable unborn soul named 22 (Tina Fey) who has never left the Great Before. Adults who have well-established convictions about what life after death means will easily acknowledge these designs as a construct. This tale will most definitely inspire questions about heaven in the very young. Parents can use this as a springboard for further discussion with their children.

Soul eventually bestows an admirable moral with universal appeal. The ultimate reveal is a warm fuzzy thought that everyone can enjoy. That universality is guaranteed not to offend. Nevertheless, it keeps the chronicle from offering anything particularly deep or controversial. What the narrative lacks in profundity, it more than makes up for in visual grandeur. When Joe descends into the Great Before, my heart leaped at the sensational marriage of sight and sound. The percolating synthesizer score by Trent Reznor and Atticus Ross is supremely affecting. Pixar has pushed their artistry once again. Their efforts elevate this production in ways that are hard to explain, but easy to appreciate: Joe’s fingers as they grace a keyboard (playing compositions by bandleader Jon Batiste), the judgmental facial expressions of Dorothea Williams regarding a new addition to her musical combo or simply the physical realm of New York City rendered in breathtaking detail. Thematically it aims higher and so the bar is raised to a new level. Soul is an ambitious statement and it delivers some but not all of the spiritual enlightenment it initiates. The story is still endlessly compelling throughout and I enjoyed the film as a spectacle. It’s one of the best of the year.

12-25-20

Ma Rainey’s Black Bottom

Posted in Drama, Music with tags on December 22, 2020 by Mark Hobin

Rating: 3 out of 5.

We get a taste of Ma Rainey’s immeasurable talent at a blues concert on stage right at the beginning. Our story concludes with a staid rendition of a song in a recording studio that has a much different energy. In between, there are a lot of lengthy speeches that serve to explain why. This is an actor’s showcase based on August Wilson’s 1982 play. Wilson is best known for a series of ten theatrical works collectively called The Pittsburgh Cycle that deal with themes of race and the African American experience. Adapted by Ruben Santiago-Hudson and directed by George C. Wolfe, this is the one piece of the cycle not set in Pittsburgh. It’s Chicago baby.

Viola Davis portrays the legendary “Mother of the Blues.” Ma Rainey was a trailblazing star in the 1920s. Readers may recall Viola Davis also appeared in Fences in 2016. That adaption of August Wilson’s play was shepherded by Denzel Washington who produced, directed and starred. He is a producer here and there are plans to bring all 10 of Wilson’s Pittsburgh Cycle to the screen under his guidance. It’s 1927 and Ma Rainey travels to Chicago to record a selection of her popular tunes. The play centers on a fictionalized recording session of one particular song which also serves as the title of this movie. Incidentally, the “Black Bottom” was a dance craze of the era. The chronicle touches upon a multitude of subjects that include race, religion, and music — specifically the exploitation of black artists at the hands of white producers.

The performances are spectacular. Ma Rainey is a bold presence — strong-willed, set in her ways. She is keenly aware that these white men need her. She has something of value: her voice. She withholds that talent like a negotiable commodity as they are constantly at odds. With makeup, weight, gold teeth, and impressive singing, she cuts an imposing figure. Veteran soul singer Maxayn Lewis provides the vocals. Viola Davis embodies the woman. She won an Oscar for Fences and she most certainly will garner a nomination for her extraordinary work here. Whenever Ma Rainey is up on the screen, the drama is at its most fascinating. She commands the room.

In a most poignant elegy, Chadwick Boseman gives his final performance. As trumpeter Levee, he’s brought in as a hired musician for Ma Rainey’s latest record. The two fiercely independent types butt heads. He would rather perform the tunes he has written with his own musical combo. To make matters even more constrained, he also has eyes for Ma Rainey’s girl Dussie Mae (Taylour Paige). Levee is the biggest part of the entire production and Boseman is getting the most accolades. He’s up on screen more than anyone, even Ma Rainey. Boseman is undeniably great and a likely Oscar nominee. However, actors Colman Domingo, Glynn Turman, and Michael Potts portray the other members in her backing band. Their contributions are worthy of note as well. The cast is a captivating ensemble.

The overall presentation beautifully captures the craft of the stage but it’s not cinematic. The production is stagey, and it unfolds in an extremely claustrophobic setting. Fences suffered from theatricality too. Its dialogue ultimately won the Pulitzer Prize though and the movie transcended that obstacle. Most of the “action” here takes place in a recording studio — and by action, I mean talking. Perhaps that confined feeling was desired, but it’s not pleasant. There’s a lot of monologuing going on here. Characters recount various stories. Most underscore how racism has affected their lives. Ma Rainey’s Black Bottom leans so heavily on amplified displays that it becomes a demonstration where actors act. We the audience are invited to marvel at their diction and technique. Those theatrics work perfectly well on Broadway, but it can be difficult to pull off in a film. Hamilton is a notable exception. Movies and plays are each elevated by distinct qualities. Great performances unite them both, but the rest doesn’t coalesce into a fully-realized whole. I was oddly unfulfilled by the end. Given that, I’d enjoy Ma Rainey’s Black Bottom a lot more on a theater stage than a TV screen.

12-18-20

Wolfwalkers

Posted in Adventure, Animation, Family, Fantasy with tags on December 18, 2020 by Mark Hobin

Rating: 4 out of 5.

In mid 17th century Ireland, the town of Kilkenny is at war with wolves. The citizens are currently clearing space in the woods for farming under the direction of Lord Protector Oliver Cromwell (Simon McBurney), but the beasts are getting in the way. They attack the townsfolk’s sheep as well. Legend has it these aren’t mere animals. They are led by a much stronger breed called wolfwalkers — individuals who are part human, part wolf — that control these canines. A hunter named Bill Goodfellowe (Sean Bean) has been hired to help aid in the canines’ extinction. He also has a young daughter Robyn (Honor Kneafsey) who is eager to help out.

The Irish animation studio Cartoon Saloon has a perfect record. They are now four for four in an extraordinary run of fantastic films beginning in 2009 with The Secret of Kells and continuing with Song of the Sea and The Breadwinner. Sure Disney and Pixar are far more prolific but with quantity comes mediocrity. Those studios achieve undeniable highs but the magical spirit of Cartoon Saloon is light years beyond releases like Chicken Little or Cars 3. This sumptuous, hand-drawn saga is an exquisite labor of love that touches the heart as it dazzles the eye. Every one of their movies has been nominated for Best Animated Feature at the Oscars. I do not doubt that this one will likewise get a nod. Perhaps 2021 could be their year. Wolfwalkers is that good.

This is a touching fable of friendship. Robyn encounters a wild bushy red-haired child. The little girl is named Mebh (Eva Whittaker). She is a human by day but can shape-shift into a wolf at night. As an apprentice hunter, Robyn has been instructed by her father to kill the last wolf pack. However, Mebh is a thoughtful soul who shares Robyn’s desire for freedom. Additionally, Mehb wants to be reunited with her mother (Maria Doyle Kennedy). There is a palpable connection — a sisterhood between the girls — that is most affecting. Robyn is conflicted.

If Wolfwalkers has a weakness it’s in the simplicity of the story. The developments have our protagonist encountering hostility for befriending a strange individual. Robyn and Mebh’s relationship is purely platonic, but it’s not embraced by her peers. That idea can be traced at least as far back as Romeo and Juliet. There are similarities to FernGully, Disney’s Pocahontas, Princess Mononoke, Avatar, and — wait for it — Dances with Wolves. There’s an overbearing tyrant who casts dispersions on the “others” as savages too. Yet I won’t hold familiarity against it. At this point, it would be like faulting a romantic comedy because it’s a “boy meets girl” tale.

Wolfwalkers is a beautiful achievement. I cannot emphasize how gorgeous these hand-drawn visuals look given our modern aesthetic of computer rendered images. It is so rare in fact that the mere presentation is stunning. The uniqueness is appreciated. The colors are bold and vibrant. There is an unfinished, rough quality to the artistry of the spectacle. Yes, traditional animation still exists. Anime from Japan and Warner Brothers’ direct to video superhero movies are notable exceptions. However with Disney, Pixar, and DreamWorks’ domination of the market, CGI has been the norm.

Cartoon Saloon has been releasing works of art since 2009. Director Tomm Moore’s first two features were The Secret of Kells (2009), co-directed with Nora Twomey, and Song of the Sea (2014). He also did the segment “On Love” in Kahlil Gibran’s The Prophet. Now he has returned with Wolfwalkers, a collaborative effort with art director Ross Stewart who makes his directorial debut here. What I value most about this production — and everything Cartoon Saloon does — is their dedication to creating an authentic age. No jargon or references to things in 2020. Disney and Pixar make enjoyable pictures, but they’re usually very much of our time. Wolfwalkers is a journey into another era allowing the viewer to bask in an ethereal mood. I rarely experience that in contemporary films. That’s something to be treasured.

12-02-20

Run

Posted in Drama, Horror, Mystery, Thriller with tags on December 3, 2020 by Mark Hobin

Rating: 3 out of 5.

It wasn’t her first role, but I suppose people first became aware of Sarah Paulson back in 1995 on the supernatural-themed TV series American Gothic on CBS. It only ran for one season, but she’s been steadily working ever since. She’s arguably one of the hardest working people in show business. She’s done Broadway (The Glass Menagerie), starred in the ABC network TV program Cupid in 2009, and performed in supporting roles in a plethora of high profile films (12 Years a Slave, Ocean’s 8). However, what’s brought the most acclaim is her ongoing involvement in the FX anthology American Horror Story. She has portrayed many different characters on AHS. It has earned the actress a Golden Globe and 6 Emmy nominations for that show alone. She just began another similarly themed TV series Ratched on Netflix. She’s good at horrifying people. I mean that as a compliment. She radiates goodness on the surface but there’s a sinister quality underneath her placid exterior that is most unsettling. That edgy trait is put to good use here.

I didn’t’ watch Run when it debuted 2 weeks ago (November 20) on Hulu. It unexpectedly broke records as that streaming service’s most-watched film premiere ever. Then I took notice. The outstanding Palm Springs previously held that record. Run concerns a new mother (Sarah Paulson) who has recently given birth with complications. Flash forward 17 years later. Daughter Chloe, played by newcomer Kiera Allen, is in a wheelchair. She is housebound and chronically ill. Diane homeschools her daughter and seems to be a doting and loving parent. She unfailingly administers the medications Chloe requires to stay healthy. Then one day Diane gives Chloe an unfamiliar green pill. Chloe had inadvertently seen the bottle earlier. It was prescribed to her mother and this discovery creates a nagging suspicion in Chloe. She tries to get to the bottom of what’s happening.

Run is a modest but efficient thriller from director Aneesh Chaganty. He did the mystery movie Searching in 2018, a missing child saga entirely set on computers and smartphones. This is given a traditional approach, but it’s likewise compelling. Sarah Paulson is good at playing the kindly mother that may not be all she appears to be. Kiera Allen is impressive in her debut as Chloe. The actress has used a wheelchair for 6 years in real life. The account builds, exploiting a growing feeling of anxiety. Things get crazier and the adventure involves a battle of wits. The writing is dependable. As details unfold, however, there is a salient sense of predictability. The screenplay by Aneesh Chaganty and frequent collaborator Sev Ohanian contains foreseeable story beats. A game of pursuit, near captures, and escapes isn’t innovative. Yet a tale can succeed if the actors invoke your emotion. This boilerplate narrative might have failed in the hands of lesser talents. Paulson and Allen believably sell this movie. Because of them, I enjoyed Run.

11-23-20

The Croods: A New Age

Posted in Adventure, Animation, Comedy, Family with tags on November 23, 2020 by Mark Hobin

Rating: 3.5 out of 5.

I wasn’t especially fond of The Croods back in 2013 when I saw it. I railed against its modern attitude and the antagonistic relationship between father and daughter. I still gave it a passable review because it was mostly pleasant. Now I haven’t re-watched it since, so I’m not sure if I’ve changed or if The Croods: A New Age is indeed a better movie. Don’t get me wrong, this is not deep. It basically coasts on physical comedy. Nonetheless, it’s such a sunny upbeat delight that it was enough to charm me into believing this is an improvement.

It helps that the story is more elaborate than merely “daughter butts heads with an overprotective father.” Everyone in the Crood household is back including Guy (Ryan Reynolds) — the boyfriend of Eep (Emma Stone) — who now lives with the clan. This time the so-called “threat” is a seemingly innocent family who has advanced beyond the Croods in intelligence and evolution. They’re the Bettermans. Psst…..their name is allegorical. Get it? Actors Peter Dinklage and Leslie Mann really bring their A-game in voicing these fussy characters. There’s something acutely absurd in the contrast. Grug (Nicolas Cage) and Ugga (Catherine Keener) Crood are so thoroughly unrefined while Phil and Hope Betterman are upscale types that act like they’re ready to lead a yoga class. They welcome the Croods into their beautiful home and Grug brings the havoc. Grug can’t seem to understand the concept of a wall.

This is a very funny movie. There are plenty of laughs to be mined simply in that dichotomy. Then the narrative develops a little further. The adventure revolves around the Betterman’s daughter Dawn (Kelly Marie Tran) who is comparatively down to earth for a Betterman. She admires Eep and they forge a fast friendship. The fact that they aren’t depicted as rivals is a refreshing surprise. Also, the Bettermans already know Guy. That previous connection makes relationships a bit complicated. The New Age is still a slapstick affair at heart but the zaniness is intelligently introduced and then focused. There’s a glee here that recalls the work of animation legend Tex Avery for Warner Bros and MGM. For example, when Dawn’s hand is stung by a bee it swells to such a puffy cartoonish size it looks like an inflatable balloon. It’s not a profound film. I’ll probably forget the details in a week or two. However, I frequently laughed while watching this, and in 2020 that counts for a lot.

11-20-20

Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on November 12, 2020 by Mark Hobin

I’m on the radio! The show is talkSPORT with Martin Kelner where I discuss movies. We chat about THE DEVIL ALL THE TIME (Netflix) and THE SOCIAL DILEMMA (Netflix). Click below. My segment begins 22 minutes into the 2:30-3:00 section (about 8 minutes from the end). Enjoy!

Source: The world’s biggest sports radio station | talkSPORT